Double Indemnity / Old Grand-Dad 114

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For robots, radio presents in
1944 director, Billy Wilder and

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star, Fred MacMurray gave the
world.

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A mysterious foray into murder
mystery and a bit of film Noir

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in 2020.
We return skeptically to a fan

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favorite bourbon brand.
The film is Double Indemnity.

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The whiskey is old, Granddad 114
and we'll review them both.

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This is the film and whiskey
podcast.

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Welcome to the film and whiskey
podcast for each week.

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We review a classic movie and a
glass of whiskey.

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I'm Bob book, I'm Brad G and
this week, we are looking at the

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1944 classic double indemnity
Brad.

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How you doing today, man?
I'm doing really good.

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I got to You today?
Yeah, we actually met up today

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halfway between where we live.
We live about two hours apart.

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We had to swap whiskeys for the
next few weeks.

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So it was good to see you in
person.

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My friend, it's been a long
time.

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Yeah, it's a terrible thing.
Hopefully, the fates will draw

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us back together at some point
but for now we have to meet in

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the parking lot of a Cracker
Barrel and just hang out and

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talk.
Well, and in addition to seeing

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you we also got to both watch
this movie.

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I have made no bones about it
over the past few weeks.

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This is one of my favorite
movies of Classic Hollywood.

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We know this is the second Billy
Wilder film that we've done in

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season one.
We did Some Like It Hot.

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So Brad I have to ask you.
First of all, had you ever seen

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Double Indemnity before we
washed it for the podcast?

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Well, I hadn't I had heard of
it.

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I knew that it was an early film
Noir example.

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But honestly, Bob having watched
it now, I am so surprised that I

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hadn't seen it before and like,
when I think about the word,

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Film and all that it connotes,
this is a classic film.

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You know what I mean?
Absolutely, yeah, it's one of

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those films that doesn't kind of
get mentioned in that first

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group of all time.
Hollywood Classics with the

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Citizen, Kane's and the
Casablancas and Gone With the

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Wind.
And yet, I don't think I've ever

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met anyone who watched this
movie and didn't like it.

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Yeah.
I it's a spectacular movie.

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And honestly, it's a much better
movie than Gone With the Wind

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honestly.
Yeah, I would put it up there

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with Casablanca as like these
are some of the best movies of

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the 1940s.
Well and I think one of the

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things that connects those two
movies Brad is they both have

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just incredible scripts.
Billy Wilder, is I think one of

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the most underrated directors in
Hollywood history, but no one

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has ever left him out of the
conversation of potentially

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being the best screen writer of
all time.

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And we saw it with Some Like It,
Hot and how quick and witty has

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his dialogue, can be, and you
see it again in this movie and

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There's moments where it's
really hard edged and cynical

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but then there's also these
great dialogue exchanges between

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characters and Billy Wilder
really, really shines as a

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screenwriter with this movie.
Yeah.

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Well I mean, I've said this
before about older films and you

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know, this isn't always the
case, you know, what I'm about

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to say, isn't always true
because there was bad films made

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back in the 40s and 50s and, you
know, that's fine.

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But back in the day before, you
had all this technology to

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really flash and wow, Wow.
And pop on the screen the the

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way that you kept people's
attention was with good witty

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smart dialogue.
And unfortunately I just don't

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think you get that quite as
often in modern film because

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it's not quite as necessary.
You're able to enhance other

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parts of the film which is great
and I love those other parts of

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film and you know I'm glad that
the film industry has come as

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far as it has.
But there is something inside of

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me that The type of dialogue
that I feel like you more often

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find when you watch things with
Cary, Grant and Humphrey, Bogart

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and apparently Fred MacMurray.
That's right.

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Well and one thing I want to say
before we move on into our

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favorite segments here, Brad
explains is that I think another

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reason for the dialogue being so
good and so witty and so Snappy,

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is that it kind of had to pull
double duty.

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Like it not only had to fulfill
all the functions that dialogue

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normally does, but we're dealing
with a time in Hollywood

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history.
That we talked about the Hays

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code and that's essentially the
film censorship board that was

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still in place in the late,
1930s.

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All the way until the 1960s and
films had to be reviewed for

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their content and so
screenwriters, really had to

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come up with clever ways to
introduce kind of double

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entendres.
Like, things that the characters

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were talking about that, we all
know what they really meant, but

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they couldn't quite get away
with saying things explicitly.

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And this movie is, I think one
of the best examples of a movie,

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kind of ducking, or Around the
laws of the Hays code, to convey

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something that they weren't
quite allowed to say.

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And I think that's really one of
the areas where Billy Wilder

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shines, the most with this
script.

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But before we get any further
Brad, I don't know how many

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people in our audience will have
seen this movie, if you're into

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classic film, I'm sure you have.
But I think for a lot of people

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listening, this might be their
first exposure to the movie

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Double Indemnity.
And so, we're going to move into

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our segment.
Brad explains where Brad breaks

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down the plot of a movie that
he's just seen most of the time

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for the first time and we have
the treat of that happening

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today.
So Brad, can you explain with

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full spoilers?
What happens in the movie Double

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Indemnity?
The film Double Indemnity is

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about a insurance salesman named
Walter Neff, who makes a call on

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a client who is about to let his
auto insurance lapse and he

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arrives at the house and finds
the wife at home alone, Phyllis

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dietrichson, and he's soon drawn
in by her sultry charm.

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And she involves him in a plot
to take out a life insurance

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policy on her husband, who is,
you know, apparently a cruel and

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uncaring, man, and they decide
to finish him off to kill him

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and get the insurance policy and
then they're going to run off

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together, and, you know, be
wildly in love.

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And as the film goes on, you see
Walter fall into more and more,

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paranoia there, the the claims
manager at his insurance

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company.
The guy who checks in make sure

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that the deaths are legit.
Did and the insurance claims are

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what they seem to be is a man
named keys and he always talks

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about this little man in his
stomach, that just tells him

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when something is wrong and he
needs to investigate further.

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And so, Neff has to essentially
draw up a policy without the

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husband knowing, it has been
drawn up on him and get the man

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killed in a way that isn't, you
know, suspicious enough to cause

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his claims manager to get
suspicious about it.

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And then, you know, they can get
the money.

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And then in addition to all of
this, There is something in a

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lot of insurance policies called
an a double indemnity clause,

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which is basically really
specific ways of dying or having

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an accident that will pay out
double on the insurance policy.

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So there's a Double Indemnity
that if the the husband dies on

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a train it'll pad a hundred
thousand dollars instead of

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fifty thousand dollars.
So they kill the husband, they

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frame it so that he falls off of
a train and eventually the the

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the boss Boss Keys figures out
that it was a murder and he

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eventually pins it on the
daughter of Phyllis and her

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husband on her boyfriend at the
end of the film Walter, Neff,

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realizes that Phyllis has no
intention of running away with

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him.
That she might even off him as

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well.
And so he goes into Keys as

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office and offers a confession
and recognizes that he is the

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one who killed the the Husband
and it's that's it.

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There you go.
Yeah and Brad I think it even

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goes a little bit further than
that in terms of how kind of

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dark and cynical it gets I mean
both of the main characters,

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likely die.
We watch Walter actually goes

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over to Phyllis house and shoots
her dead, because he realizes

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that she's either going to find
a way to bump him off or

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implicate him when she gets on
the stand.

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And so she's dead.
He gets shot by her before she

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dies and he's bleeding out.
He Records.

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This confession and is basically
caught by his boss keys in the

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office because he was trailing
blood, and then the guy who

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operated the elevator called
keys, and the movie ends in this

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really kind of ambiguous way
where he's probably going to

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bleed out and die.
If he doesn't, you know, he's

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gonna go basically to the gas
chamber and die.

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It's a really dark movie and
it's not the kind of uplifting

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ending that you're used to
seeing in a 1940s movie.

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And it really sparked this genre
called Film Noir, and we're

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gonna get into talking about
what a film Noir is later.

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But I think one of the first
things that you can say about it

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is that these kind of movies.
They always feature these sort

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of hard-boiled cynical
protagonists who are maybe up to

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no good.
They usually feature a femme

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fatale, you know, a woman who is
obsessed with murder in some

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way.
And they have this really sort

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of pessimistic.
I guess I would almost have,

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like, nihilistic kind of tone to
them where, you know, maybe

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people get their comeuppance but
it's also, Like at what cost.

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And this is, this is a really
great example of that.

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Because as you watch this movie,
you really just get a sense that

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most of the characters in this
movie are just kind of sleazy

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people that do sketchy things
and there's really no clear-cut

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protagonist in the film.
Yeah.

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And I think, for me, the more I,
you know, reflect on this movie,

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I really do.
And this is going to be really

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bad pun.
I really do think that Keys is

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the key to this film.
As, as a character, he's

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introduced as this kind of harsh
mean, crotchety old claims

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investigator who doesn't find
any good in anyone.

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And, you know, even Walter says,
he's like, you know, I've worked

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with him for a long time, but I
know that he's actually got a

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heart of gold behind that tough
exterior.

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And so you kind of realized like
oh this guy is actually kind of

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a good dude.
And by the end of the film, you

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realize that Keys really is the
moral Center.

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This Movie that he believes in
the goodness of Walter Neff.

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He is the one who defends him to
his boss, saying, no, there's no

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way Walter could have done this.
He told me that he sold the

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insurance policy.
It was all on the up-and-up and

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I can personally vouch for him
as a human being and, and like

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that gave the film so much
emotional weight to me that that

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makes you so much more
disappointed and Walter for what

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he did.
Well, And I think part of it

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too, is that you have such a
great actor, filling this role,

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it's Edward G Robinson who had
been super famous throughout the

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1930s but had always been
Typecast and kind of gangster

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roles.
He became really famous with

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this movie called A Little
Caesar in the early 1930s.

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And at this point, you know, he
was getting kind of advanced in

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age to be a leading man and he
realized he needed to start

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taking smaller roles.
He really didn't feel super

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comfortable about making the
transition into supporting roles

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and actually said that in order
to Vince him.

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They basically paid him the same
salary as both the leads for

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way, fewer days of shooting and
he said that made it a lot

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easier for him to make the
decision but I think that having

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that would that would make it a
lot easier for me to Bob but I

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think that having an actor of
his caliber in that supporting

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role it almost kind of elevated
the role to like a third lead

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because like you said that the
relationship between him and

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Walter Neff is this really kind
of father-son dynamic and it's a

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very tragic sort of Shit
because, you know, you see, at

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the end of the film that Keys
finds out that he was wrong all

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along, and you see the kind of
love that he had, for Walter

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Neff playing out.
And I think having Edward G

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Robbins, and in that role
elevates, that sort of emotional

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weight to being just as
important as the main

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relationship between, you know,
Walter and Phyllis.

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Yeah, there's no doubt that if
you don't have keys in that in

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this movie and if he's not
played by somebody as talented,

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there's just no chance that You
care so deeply about meth and

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honestly you kind of find
yourself recognizing that.

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Neff made a mistake that he kind
of dove in with this woman who

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he didn't realize was up to no
good and you see him pay the

224
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price for it and you kind of
Wonder kind of like when you're

225
00:12:52,300 --> 00:12:56,300
watching the prequel movies for
Star Wars and you get 2 episode

226
00:12:56,300 --> 00:13:00,200
3 and it's like you know that
Anakin is going to do the wrong

227
00:13:00,200 --> 00:13:01,600
thing.
You know, he's going to turn

228
00:13:01,600 --> 00:13:03,900
into Darth Later.
And yet, I think that the

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00:13:03,900 --> 00:13:07,800
Brilliance of episode 3, is that
you still find yourself.

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00:13:07,800 --> 00:13:11,300
I I still find myself, you know,
watching it for the 30 millionth

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00:13:11,300 --> 00:13:14,100
time going, oh Anakin don't do
it.

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Like what if you just don't make
the wrong decisions and I think

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that that's what you have in
this movie and it's, it's just a

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00:13:22,500 --> 00:13:26,100
great place to be as a viewer
where, you know, the outcome

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00:13:26,100 --> 00:13:27,600
like, from the very start of the
movie.

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Neff is narrating you you think
you got the right man, but you

237
00:13:31,200 --> 00:13:32,100
didn't.
I'll tell you got.

238
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The wrong man because you got
hit, you got the boyfriend and

239
00:13:34,800 --> 00:13:37,800
it was actually me.
You're pretty good in there for

240
00:13:37,800 --> 00:13:41,500
awhile keys.
He said it wasn't an accident.

241
00:13:41,500 --> 00:13:45,300
Check he said it wasn't suicide
check.

242
00:13:46,600 --> 00:13:49,900
He said it was murder.
Check.

243
00:13:51,800 --> 00:13:53,000
You thought you had a cold
engine?

244
00:13:54,400 --> 00:13:56,600
All wrapped up in tissue paper
with pink, ribbons around it.

245
00:13:57,800 --> 00:14:00,700
It was perfect.
Except it wasn't because you

246
00:14:00,700 --> 00:14:06,200
made one mistake.
Just one little mistake when it

247
00:14:06,200 --> 00:14:08,100
came to picking the killer.
You pick the wrong guy.

248
00:14:10,900 --> 00:14:12,100
You want to know who killed
dietrichson.

249
00:14:14,300 --> 00:14:16,500
Hold tight to that cheap.
Cigar a keys.

250
00:14:18,700 --> 00:14:21,200
I killed dietrichson, maybe
Walter Neff.

251
00:14:22,300 --> 00:14:26,000
Insurance salesman, 35 years old
unmarried, no visible scars.

252
00:14:28,600 --> 00:14:31,900
Until a while ago.
That is It's a, you know, it

253
00:14:31,900 --> 00:14:35,400
right away and you know, he's
gonna do it, the whole movie and

254
00:14:35,400 --> 00:14:41,200
yet because Keys sees goodness
in Neff, you're wanting Neff to

255
00:14:41,200 --> 00:14:44,100
make the right decision, despite
the fact that, you know, he's

256
00:14:44,100 --> 00:14:45,300
going to make the wrong
decision.

257
00:14:45,300 --> 00:14:48,700
And I think that that that only
really brilliant movies are able

258
00:14:48,700 --> 00:14:51,600
to do that well and again that
speaks to how brilliant Billy

259
00:14:51,700 --> 00:14:55,300
Wilder is as a screenwriter.
And I think what makes it even

260
00:14:55,300 --> 00:14:58,400
more brilliant Brad is that he's
not presented as a guy that was

261
00:14:58,400 --> 00:15:00,600
totally good.
Who got sucked in by this.

262
00:15:00,800 --> 00:15:03,500
Evil woman, like she clearly had
a plan.

263
00:15:03,500 --> 00:15:06,800
She clearly wanted to bump off
her husband but I think what's

264
00:15:06,800 --> 00:15:09,600
what makes it even more great?
Is that from the very beginning,

265
00:15:09,600 --> 00:15:12,800
you kind of get the sense that
Walter is a little bit sleazy to

266
00:15:12,800 --> 00:15:16,000
like when he first.
Yeah, first shows up to Phyllis

267
00:15:16,000 --> 00:15:18,400
house to deliver these insurance
papers.

268
00:15:18,400 --> 00:15:22,000
He just openly starts flirting
with this married woman, and you

269
00:15:22,008 --> 00:15:25,200
actually get some incredible
dialogue in that scene, where

270
00:15:25,200 --> 00:15:28,100
it's like the sexual tension is
off the charts.

271
00:15:28,100 --> 00:15:30,700
These people are clearly into
each.

272
00:15:31,400 --> 00:15:35,200
And you get that great exchange
about she basically says like,

273
00:15:35,200 --> 00:15:37,900
hey you you're moving a little
too fast here and he says, how

274
00:15:37,900 --> 00:15:40,600
fast was I going officer and
they have this exchange about

275
00:15:40,600 --> 00:15:42,900
him going over the speed limit
mr.

276
00:15:42,900 --> 00:15:45,500
Neff, why don't you drop by
tomorrow evening around 8:30?

277
00:15:45,500 --> 00:15:48,200
He'll be in.
Then my husband.

278
00:15:48,800 --> 00:15:50,600
You're anxious to talk to him.
Weren't you?

279
00:15:50,800 --> 00:15:53,300
Yeah.
It was but I'm sort of getting

280
00:15:53,300 --> 00:15:56,200
over the idea if you know what I
mean, the speed limit on this

281
00:15:56,200 --> 00:15:58,400
date.
Mr. Neff. 45 miles an hour.

282
00:15:58,900 --> 00:16:02,700
How fast was I going officer?
The around 90 suppose you get

283
00:16:02,700 --> 00:16:04,100
down off your motorcycle.
Give me a ticket.

284
00:16:04,700 --> 00:16:06,600
Why would I let you off with a
warning this time?

285
00:16:07,100 --> 00:16:09,600
Suppose it doesn't take what I
have to work.

286
00:16:09,600 --> 00:16:12,500
You over the knuckles suppose I
bust out crying and put my head

287
00:16:12,500 --> 00:16:15,800
on your shoulder but you tried
putting it on my husband's

288
00:16:15,800 --> 00:16:18,100
shoulder.
That tears.

289
00:16:18,100 --> 00:16:22,200
It it's already tomorrow
evening.

290
00:16:22,200 --> 00:16:25,500
Then that's what I suggested you
be here, too.

291
00:16:25,900 --> 00:16:28,000
I guess.
So, I usually am same chair,

292
00:16:28,000 --> 00:16:31,600
same perfume, same anklet, I
wonder if I know what you mean.

293
00:16:32,900 --> 00:16:38,700
I wonder if you want.
There's tons of double entendre,

294
00:16:38,700 --> 00:16:41,900
there's tons of stuff that's
implied, but what it really goes

295
00:16:41,900 --> 00:16:45,500
to show is that Walter even
though he's the guy telling the

296
00:16:45,500 --> 00:16:48,900
story from his perspective, he's
the quote-unquote protagonist

297
00:16:49,000 --> 00:16:52,200
that doesn't make him a hero
that doesn't make him a guy that

298
00:16:52,200 --> 00:16:56,500
is completely free from sin,
even at the start of the movie.

299
00:16:56,800 --> 00:16:59,100
Yeah.
Bob I I'm right there with you.

300
00:16:59,100 --> 00:17:02,000
I will say that that first
opening scene.

301
00:17:02,700 --> 00:17:05,099
He is so sexually aggressive in
that.

302
00:17:05,099 --> 00:17:08,599
Oh my gosh.
I I was just like, man, this is

303
00:17:08,599 --> 00:17:13,400
just going to be another example
of like old Hollywood, abusing

304
00:17:13,400 --> 00:17:16,000
women and being sexually
harassed, you know, sexual

305
00:17:16,000 --> 00:17:19,500
harassment, and all this stuff.
And like, it's not that.

306
00:17:19,500 --> 00:17:23,000
That didn't happen.
Because I think it did, but once

307
00:17:23,000 --> 00:17:26,599
you start to know the character
that Barbara Stanwyck plays a

308
00:17:26,599 --> 00:17:29,800
little more, your kind of like,
okay, no, she's like, she is

309
00:17:29,800 --> 00:17:34,500
just as much in this trying to
use Walter as he is just trying

310
00:17:34,500 --> 00:17:38,800
to have sex with her if In a
weird way, he's trying to have

311
00:17:38,800 --> 00:17:42,800
sex with a married woman which
is bad and she's trying to a

312
00:17:42,800 --> 00:17:45,400
kill her husband, and be make a
lot of money off of it.

313
00:17:45,400 --> 00:17:48,500
So I don't know if that makes
her worse or not, but like,

314
00:17:48,500 --> 00:17:52,100
they're both really bad people.
Yeah, in a certain sense and

315
00:17:52,100 --> 00:17:56,000
what's really great is that at
no point in the movie until

316
00:17:56,000 --> 00:17:58,400
maybe the very end, do you get
the sense that like one of them

317
00:17:58,400 --> 00:18:01,900
is more evil than the other?
Because even as she kind of

318
00:18:01,900 --> 00:18:05,400
tries to feel him out of like my
wonder if he would kill my

319
00:18:05,400 --> 00:18:08,700
husband, It's kind of like this
dance that they play, he starts

320
00:18:08,700 --> 00:18:10,900
to figure out what she's doing
and he calls her out on it.

321
00:18:10,908 --> 00:18:12,800
And she's like, no, no, no, I'll
totally drop it.

322
00:18:12,800 --> 00:18:15,000
I won't discuss it again.
And then all of a sudden he's

323
00:18:15,000 --> 00:18:18,100
like, well, you know I have
always wondered about what it

324
00:18:18,100 --> 00:18:21,100
would be like how I would kill
somebody and what it would be

325
00:18:21,100 --> 00:18:23,400
like to try to get away with it.
So then he's the guy that's

326
00:18:23,400 --> 00:18:26,900
advancing this idea and they
really do like their their

327
00:18:26,900 --> 00:18:30,900
terribleness plays off of each
other and I think that only goes

328
00:18:30,900 --> 00:18:34,600
to improve, you know, the
character building that Billy

329
00:18:34,600 --> 00:18:37,400
Wilder's doing right.
Well and See, I think it's an

330
00:18:37,400 --> 00:18:42,600
example of how you might have
somebody who never would commit

331
00:18:42,600 --> 00:18:46,400
murder in their life, but when
they're around the wrong person

332
00:18:46,400 --> 00:18:51,400
or the wrong group of people,
they almost egg each other on to

333
00:18:51,400 --> 00:18:53,800
doing things that they never
imagined that they would have

334
00:18:53,800 --> 00:18:57,200
done in their normal life.
And I love that you kind of get

335
00:18:57,200 --> 00:19:02,300
a picture of that when Keys
comes to Neff and he's like,

336
00:19:02,300 --> 00:19:05,600
trying to pitch him on taking a
pay cut to become a claims man.

337
00:19:05,600 --> 00:19:09,600
Instead of a Salesman.
And he has this great line about

338
00:19:09,700 --> 00:19:13,600
a claims man, being a doctor,
and a bloodhound, and a

339
00:19:13,608 --> 00:19:15,300
Confessor.
And, you know, it's this great

340
00:19:15,300 --> 00:19:17,000
line.
He's really pitching.

341
00:19:17,400 --> 00:19:21,900
He's trying to sell the salesman
on a new job and it's a

342
00:19:21,900 --> 00:19:25,000
brilliant scene.
And I think you have a moment in

343
00:19:25,000 --> 00:19:28,800
that scene where Neff looks at
keys, and you can tell that he's

344
00:19:28,800 --> 00:19:33,600
gone so deep in with Phyllis
that in another life, if he

345
00:19:33,600 --> 00:19:38,000
hadn't delved into this evil
side of himself, Maybe, you

346
00:19:38,000 --> 00:19:40,100
know, sure.
He was a bad guy but maybe this

347
00:19:40,100 --> 00:19:43,100
would have been an opportunity
for Redemption to move forward

348
00:19:43,100 --> 00:19:45,300
with his life to try a new hat
on try.

349
00:19:45,300 --> 00:19:49,500
New set of clothes on, see if it
fits, but because he has met

350
00:19:49,500 --> 00:19:53,800
this person, he's met Phyllis
and he's dove headfirst into

351
00:19:53,800 --> 00:19:58,700
this pool of darkness and
murder, and theft, and all these

352
00:19:58,700 --> 00:20:01,900
terrible things.
He can't move forward with

353
00:20:01,900 --> 00:20:05,300
another Avenue in his life.
And so I, there's something

354
00:20:05,300 --> 00:20:08,100
about that scene that you're
You're just like, man, you just

355
00:20:08,100 --> 00:20:10,700
see what life could have been
for Walter.

356
00:20:10,900 --> 00:20:14,000
If he had never shown up at the
dietrichson house.

357
00:20:14,000 --> 00:20:16,000
Absolutely.
Well and Brad, I kind of want to

358
00:20:16,000 --> 00:20:19,000
shift a little bit into talking
about this script that Billy

359
00:20:19,000 --> 00:20:21,900
Wilder co-wrote with the mystery
writer Raymond Chandler.

360
00:20:22,300 --> 00:20:24,600
The story for Double Indemnity
was actually based off of a

361
00:20:24,608 --> 00:20:26,200
short story that was written by
this guy.

362
00:20:26,200 --> 00:20:29,900
James M, Cain, Billy Wilder had
a writing partner that he wrote

363
00:20:29,900 --> 00:20:31,900
with all the time.
Charles Brackett said that he

364
00:20:31,900 --> 00:20:33,700
didn't want to make this movie
because he didn't like how

365
00:20:33,700 --> 00:20:36,800
sordid the subject matter was.
So Billy Elder needed.

366
00:20:36,800 --> 00:20:39,500
A new writing partner.
He wrote the script with Raymond

367
00:20:39,500 --> 00:20:42,200
Chandler, and they absolutely
hated each other.

368
00:20:42,200 --> 00:20:45,200
They disagreed on everything.
While they're said that, when

369
00:20:45,200 --> 00:20:48,100
Raymond, Chandler, showed up, he
was like, in a 12-step alcohol

370
00:20:48,100 --> 00:20:50,400
recovery program.
And by the time they finished

371
00:20:50,400 --> 00:20:53,900
writing the script, he was like
a raging alcoholic again.

372
00:20:54,100 --> 00:20:57,200
So, these two guys hated each
other, but they recognize what

373
00:20:57,200 --> 00:21:00,600
each brought to the table.
And one of the things that I

374
00:21:00,600 --> 00:21:04,000
really love is how they both
contributed to the dialogue in

375
00:21:04,000 --> 00:21:06,000
this movie.
Like you have these great.

376
00:21:06,000 --> 00:21:07,800
Why?
Elder touches of some really

377
00:21:07,800 --> 00:21:11,700
clever witty lines, but then you
also have like some great

378
00:21:11,800 --> 00:21:15,200
hard-boiled, detective type
lines, even like at the end of

379
00:21:15,200 --> 00:21:17,900
the movie when Walter shoots
Phyllis and the last thing he

380
00:21:17,900 --> 00:21:21,000
says is just byebye baby.
Like, it's just that there's

381
00:21:21,000 --> 00:21:26,100
something so classic about every
line in this movie, and I think

382
00:21:26,100 --> 00:21:28,000
you really do, get the best of
both worlds.

383
00:21:28,000 --> 00:21:31,300
You get that great witty cynical
Wilder dialogue.

384
00:21:31,300 --> 00:21:34,700
And then you also have those
great, detective novel type

385
00:21:34,700 --> 00:21:38,300
lines that you here Walter.
Keys say did you have any other

386
00:21:38,300 --> 00:21:40,500
lines that you thought like
really stood out or anything?

387
00:21:41,000 --> 00:21:45,500
Oh man, I do find it hard with
these movies to keep track of

388
00:21:45,500 --> 00:21:47,900
all the lines because there's so
many good ones that I'm like,

389
00:21:47,900 --> 00:21:51,600
wait, what he said something
about this or yeah, there are

390
00:21:51,600 --> 00:21:54,300
there's so many good lines, but
even like the kind of little

391
00:21:54,300 --> 00:21:57,700
throwaway like one-liners that
they put in the movie, I laughed

392
00:21:57,700 --> 00:21:59,800
out loud at a couple of them.
Like, there's one right at the

393
00:21:59,800 --> 00:22:02,000
beginning.
When Walter shows up to the

394
00:22:02,000 --> 00:22:04,300
house and the maid tells him,
you know, yeah, you can go sit

395
00:22:04,300 --> 00:22:06,100
in there but they keep The
Liquor Cabinet locked up.

396
00:22:06,300 --> 00:22:07,400
Up.
And he's like, that's okay.

397
00:22:07,400 --> 00:22:10,500
I always carry my own keys.
And then like later on in the

398
00:22:10,508 --> 00:22:13,600
movie, they bring this guy down
from Oregon.

399
00:22:13,600 --> 00:22:17,600
Who was a witness to, you know,
seeing who he thought was mr.

400
00:22:17,600 --> 00:22:19,500
Dietrichson on the back of the
train and they're kind of

401
00:22:19,500 --> 00:22:23,100
interrogating him and it's all
on the insurance company's dime.

402
00:22:23,300 --> 00:22:25,400
And right before he leaves, he's
like, well, I don't think I'm

403
00:22:25,400 --> 00:22:28,300
gonna go back to Oregon yet,
there's a really good osteopath

404
00:22:28,300 --> 00:22:31,100
in town that I want to see, Ever
G.

405
00:22:31,100 --> 00:22:34,100
Robinson's like osteopath, huh.
Well don't put her on the

406
00:22:34,108 --> 00:22:36,200
company card and it's like, very
clear that he thinks.

407
00:22:36,300 --> 00:22:39,900
This guy's going to go see a
hooker like yep, there's so many

408
00:22:39,900 --> 00:22:43,500
just little witty things that
they're not necessary but they

409
00:22:43,500 --> 00:22:45,400
just help build out the world of
the movie.

410
00:22:45,400 --> 00:22:49,200
So well yeah, you find yourself
in the midst of it.

411
00:22:49,200 --> 00:22:53,900
Believing that everyone in the
world lives like these people do

412
00:22:53,900 --> 00:22:58,000
which is which is funny because
they're very clearly caricatures

413
00:22:58,100 --> 00:23:02,900
of real human beings like nobody
actually acts like he's or Neff.

414
00:23:03,200 --> 00:23:08,500
And yet, these witty one-liners
Einar's and the way that they're

415
00:23:08,500 --> 00:23:10,500
just cynical about the world
draws you.

416
00:23:10,500 --> 00:23:13,000
And like you said, Bob, it's
brilliant world-building.

417
00:23:13,000 --> 00:23:14,800
Absolutely.
And you mentioned, mrs.

418
00:23:14,800 --> 00:23:16,300
Dietrichson.
And I think it probably is time.

419
00:23:16,300 --> 00:23:19,200
We talked about our two leads
and they're acting performances

420
00:23:19,600 --> 00:23:21,000
Barbara.
Stanwyck plays Phyllis

421
00:23:21,000 --> 00:23:25,400
dietrichson, who is maybe the
most famous Femme Fatale in

422
00:23:25,400 --> 00:23:27,800
movie history.
And for good reason because she

423
00:23:27,800 --> 00:23:31,200
is just incredible in this movie
at the time.

424
00:23:31,200 --> 00:23:34,200
This movie was made.
She was the top grossing

425
00:23:34,200 --> 00:23:36,100
Hollywood actress of the prior
year.

426
00:23:36,300 --> 00:23:38,900
And so, when she read the script
for this movie, she was like, I

427
00:23:38,908 --> 00:23:40,900
don't know if I really want to
do a roll like this.

428
00:23:40,900 --> 00:23:44,200
This could be really damaging to
me, and Billy Wilder in his

429
00:23:44,200 --> 00:23:48,400
typical kind of bully way was
like, are you an actress, or are

430
00:23:48,400 --> 00:23:50,500
you a mouse?
And she was like, all right, I

431
00:23:50,508 --> 00:23:52,400
guess I'll do the part and it
ended up.

432
00:23:52,400 --> 00:23:53,800
I don't want to be a mom.
Exactly.

433
00:23:53,800 --> 00:23:57,100
It ended up being hurt.
Obviously, her most famous role

434
00:23:57,400 --> 00:23:59,900
and I think she knocks it out of
the park in this movie.

435
00:24:00,100 --> 00:24:03,700
Yeah, I think from the very
start you can tell that she is

436
00:24:03,700 --> 00:24:08,700
in control of every room.
That she is in like like as a

437
00:24:08,700 --> 00:24:11,800
character.
She has so much Swagger and

438
00:24:11,800 --> 00:24:17,000
confidence and almost like this
quiet braggadocio sness of like,

439
00:24:17,300 --> 00:24:19,800
I know who I am.
I know what I want, and I'm

440
00:24:19,800 --> 00:24:23,900
going to get it the way that she
sits at the very start of the

441
00:24:23,900 --> 00:24:26,200
film.
And her, she's like, kind of

442
00:24:26,200 --> 00:24:28,700
swinging her leg out in front of
her and the anklet is right

443
00:24:28,700 --> 00:24:31,800
there, and he comments on it and
she makes sure to wear that.

444
00:24:31,800 --> 00:24:35,700
Again, the next time he comes
like, you can just tell that she

445
00:24:35,700 --> 00:24:38,300
is in.
Control of herself what she

446
00:24:38,300 --> 00:24:42,200
wants where she's going to go.
And so when it finally cracks at

447
00:24:42,200 --> 00:24:45,500
the very end of the film and she
shoots him and can't shoot him a

448
00:24:45,508 --> 00:24:49,800
second time and he kills her,
you're just kind of like, oh my

449
00:24:49,800 --> 00:24:52,100
gosh, like it's almost like
you're on this wild roller

450
00:24:52,100 --> 00:24:54,600
coaster ride of like what is she
going to do?

451
00:24:54,600 --> 00:24:57,100
Because she's very clearly, a
psychopath.

452
00:24:57,300 --> 00:24:59,800
Well and I think one of the
things about her that is so

453
00:24:59,800 --> 00:25:03,900
interesting is that she is so
Shameless at the beginning of

454
00:25:03,900 --> 00:25:07,600
the film like not even knowing
who This insurance salesman is

455
00:25:07,600 --> 00:25:10,200
not even knowing that, she's
going to rope him into this

456
00:25:10,200 --> 00:25:13,300
murder plot.
Like in front of her maid, she

457
00:25:13,300 --> 00:25:14,900
shows up in a towel and nothing
else.

458
00:25:14,900 --> 00:25:16,900
She's flirting with this guy
that comes to the door,

459
00:25:17,300 --> 00:25:21,100
everybody knows who she is.
She's not, she doesn't love her

460
00:25:21,100 --> 00:25:22,900
husband, like she's an
opportunist.

461
00:25:23,200 --> 00:25:25,900
And I think that really sets the
stage for the rest of the movie.

462
00:25:25,900 --> 00:25:30,300
Because as these plot twists
kind of come to light, it

463
00:25:30,300 --> 00:25:32,300
totally makes sense that she
would do stuff like that.

464
00:25:32,300 --> 00:25:35,100
It totally makes sense that she
would be sleeping with her

465
00:25:35,100 --> 00:25:38,800
stepdaughters Friend and maybe
trying to rope him into this

466
00:25:38,800 --> 00:25:41,000
somehow?
All of these things continue to

467
00:25:41,000 --> 00:25:44,900
stack up and like, yes she's a
terrible person but you also

468
00:25:44,900 --> 00:25:48,200
just like Walter Neff, like you
signed up for that we were we

469
00:25:48,200 --> 00:25:52,600
were drawn in by her Allure of
how Shameless and kind of brash

470
00:25:52,600 --> 00:25:55,300
she is and kind of along with
Walter.

471
00:25:55,300 --> 00:25:58,000
Like we, as the audience, get
our comeuppance for getting

472
00:25:58,000 --> 00:25:59,500
involved with somebody like
that.

473
00:25:59,600 --> 00:26:02,000
Yeah.
And I think that her daughter,

474
00:26:02,000 --> 00:26:06,100
well, her step daughter Lola.
She is like the canary.

475
00:26:06,200 --> 00:26:10,600
In the mine shaft, if you will
that like from the very moment,

476
00:26:10,600 --> 00:26:14,300
you actually meet Lola.
That's the first time where you

477
00:26:14,300 --> 00:26:19,600
go, there's something off about
phyllis's story, because she

478
00:26:19,600 --> 00:26:23,400
talks about how her husband is
mean, and kind of a drunk and

479
00:26:23,400 --> 00:26:25,700
gets angry with her.
And then the first time you meet

480
00:26:25,700 --> 00:26:29,800
him, he's mean, he's, you know,
he's not nice to her and you're

481
00:26:29,800 --> 00:26:33,200
like, okay yeah, her story is
kind of verified her husband's

482
00:26:33,200 --> 00:26:36,500
kind of a jerk.
But the thing is, she That's a

483
00:26:36,508 --> 00:26:40,800
few times that her stepdaughter
is kind of lousy and and not

484
00:26:40,800 --> 00:26:43,200
trustworthy and just make stuff
up.

485
00:26:43,300 --> 00:26:46,600
But from the very first time you
meet Lola, you go huh.

486
00:26:46,700 --> 00:26:49,600
Something's off.
Phyllis is story isn't quite

487
00:26:49,600 --> 00:26:53,300
stacking up and she ends up
being the one that really helps

488
00:26:53,300 --> 00:26:57,100
Walter realize, like, yeah,
Phyllis is the one who actually

489
00:26:57,100 --> 00:27:00,800
killed her, original mom, you
know, dietrichson's, first wife,

490
00:27:01,300 --> 00:27:03,900
and that she forced her way in
to get married.

491
00:27:04,000 --> 00:27:06,000
And now she's she thinks that
she killed her.

492
00:27:06,200 --> 00:27:09,200
Dad and and Walters like, holy
crap.

493
00:27:09,200 --> 00:27:12,900
I am in so much further than I
thought I was going to be.

494
00:27:13,100 --> 00:27:15,800
And that's our segue Brad into
talking about Fred MacMurray.

495
00:27:15,800 --> 00:27:17,700
I want to get your thoughts
before we go to the break.

496
00:27:17,900 --> 00:27:21,000
He is our main character.
He is the one who is narrating

497
00:27:21,000 --> 00:27:24,500
the film through his eyes, as
we're seeing the whole world of

498
00:27:24,500 --> 00:27:27,000
Double Indemnity.
How did you think Fred MacMurray

499
00:27:27,000 --> 00:27:29,300
did in this movie?
Oh my gosh, dude.

500
00:27:29,300 --> 00:27:32,200
I I struggled at the very start
because you could tell that he's

501
00:27:32,200 --> 00:27:36,100
just a womanizer and I really
wasn't enjoying that.

502
00:27:36,200 --> 00:27:40,100
Scene with Phyllis.
But as the movie went on, I just

503
00:27:40,100 --> 00:27:42,500
think he has a smoothness about
him.

504
00:27:42,800 --> 00:27:45,600
That is amazing.
And and honestly, I think that

505
00:27:45,600 --> 00:27:49,500
these movies the the film Noir
genre part of the reason they're

506
00:27:49,500 --> 00:27:54,200
so famous is because their
protagonists are so so cynical

507
00:27:54,200 --> 00:27:58,400
about the world and yet I think
one of the reasons I like Walter

508
00:27:58,400 --> 00:28:02,500
Neff as a character is because
Fred MacMurray doesn't choose to

509
00:28:02,500 --> 00:28:06,000
play him as a.
Crazy cynical doesn't believe.

510
00:28:06,200 --> 00:28:10,200
Anything really is real in the
world as much as it's probably

511
00:28:10,200 --> 00:28:14,200
more about sex than about love.
He definitely portrays himself

512
00:28:14,200 --> 00:28:18,200
as a man who is falling head
over heels with this idea of

513
00:28:18,200 --> 00:28:23,200
being with Phyllis dietrichson
and so he's not your typical

514
00:28:23,200 --> 00:28:26,100
cynical private eye, that
doesn't think anything.

515
00:28:26,100 --> 00:28:29,900
Good is out there, he's someone
who falls in love with a woman

516
00:28:29,900 --> 00:28:34,300
on a whim almost and he kind of
gets burned because of it and I

517
00:28:34,300 --> 00:28:37,000
like him because of that.
Absolutely.

518
00:28:37,400 --> 00:28:39,400
It's a very different Dynamic
than if you'd had like a

519
00:28:39,408 --> 00:28:42,300
Humphrey Bogart in this movie,
you know, Bogart had one of

520
00:28:42,300 --> 00:28:45,000
those faces that just kind of
looked like it had been worn

521
00:28:45,000 --> 00:28:48,000
down by Years of Living in the
real world.

522
00:28:48,100 --> 00:28:50,100
Fred MacMurray is like a baby
face.

523
00:28:50,100 --> 00:28:52,300
You know what I mean?
And he had made his bones in

524
00:28:52,300 --> 00:28:56,100
Hollywood by being in star of
like really light

525
00:28:56,100 --> 00:28:58,800
family-oriented comedies.
He became one of the highest

526
00:28:58,800 --> 00:29:02,500
paid actors in Hollywood and
then he took this role because

527
00:29:02,600 --> 00:29:05,200
his contract was expiring with
Paramount and normally they

528
00:29:05,200 --> 00:29:07,500
would have advised him.
Against it but he was playing

529
00:29:07,500 --> 00:29:10,500
Hardball with the company and so
Paramount was like let's let him

530
00:29:10,500 --> 00:29:13,000
take this role, it'll ruin his
career and then we won't have to

531
00:29:13,000 --> 00:29:16,200
pay him any more money and it
had obviously the opposite

532
00:29:16,200 --> 00:29:18,600
effect.
But I think that casting

533
00:29:18,600 --> 00:29:21,900
somebody like McMurray in this
role really works to the benefit

534
00:29:21,900 --> 00:29:25,400
of the movie because he's not
the kind of guy that's like a

535
00:29:25,400 --> 00:29:28,900
bogart worn down and just
skeptical of everything in the

536
00:29:28,900 --> 00:29:31,400
world.
He's a guy who's, you know, for

537
00:29:31,400 --> 00:29:33,200
lack of a better term.
He's like a regular guy.

538
00:29:33,300 --> 00:29:36,000
He works in an insurance office
and he's seen enough of these

539
00:29:36,200 --> 00:29:39,600
Kind of bogus claims come in
that he has a healthy sense of

540
00:29:39,600 --> 00:29:43,200
skepticism, but it's not really
until he gets caught in this

541
00:29:43,200 --> 00:29:46,500
sort of web of murder and deceit
and lies that you really see the

542
00:29:46,500 --> 00:29:50,200
extent of how Bleak his
worldview comes to be.

543
00:29:50,200 --> 00:29:54,100
And I think having this sort of
like, baby-faced good-looking

544
00:29:54,100 --> 00:29:56,800
guy in the part really brings
that home.

545
00:29:56,800 --> 00:29:58,000
Yeah, I mean I mean think about
it.

546
00:29:58,008 --> 00:30:03,500
Bob if you had Fred C Dobbs as
the insurance salesman like it

547
00:30:03,500 --> 00:30:08,700
just it just would be too harsh.
It It'd be too over the top and

548
00:30:08,700 --> 00:30:12,100
like you said, I honestly, if I
had to describe Neff at the

549
00:30:12,100 --> 00:30:14,900
start of the movie, he's an
insurance salesman, he makes

550
00:30:14,900 --> 00:30:17,300
good money.
He's, you know, and this is more

551
00:30:17,300 --> 00:30:19,100
of a dream.
I don't think this is actually

552
00:30:19,100 --> 00:30:21,600
the best that the world has to
offer.

553
00:30:22,000 --> 00:30:24,800
But like, you know, he's on top
of the world, he can womanize

554
00:30:24,800 --> 00:30:28,400
all he wants, he's got the money
he needs, he gets to travel.

555
00:30:28,400 --> 00:30:32,600
Like this is in a certain way, a
perverse American dream.

556
00:30:33,100 --> 00:30:36,400
And so you know that like you
said that baby face, the He

557
00:30:36,400 --> 00:30:40,100
plays the character as being
kind of eager and Suave and

558
00:30:40,100 --> 00:30:43,100
confident.
I just I really, really think

559
00:30:43,100 --> 00:30:46,400
that Fred MacMurray had the best
performance out of anybody in

560
00:30:46,400 --> 00:30:49,100
this movie, but Brad, I think
this is a good note for us to

561
00:30:49,100 --> 00:30:50,800
press pause.
When we come back, I want to

562
00:30:50,800 --> 00:30:52,300
talk a little bit about Billy
Wilder.

563
00:30:52,300 --> 00:30:54,900
The director and we've talked
about the writer, but I want to

564
00:30:54,900 --> 00:30:57,500
talk about his Direction in this
film, I want to talk about the

565
00:30:57,500 --> 00:31:00,000
themes of the movie.
What makes this a film Noir?

566
00:31:00,000 --> 00:31:02,000
What is a film Noir.
And then, we're going to kind of

567
00:31:02,000 --> 00:31:05,200
talk about, you know, the legacy
of Double Indemnity.

568
00:31:05,200 --> 00:31:07,700
But before we get to that, that
lets press pause here.

569
00:31:07,700 --> 00:31:10,400
Let's try this old Granddad 114.
What do you say?

570
00:31:10,700 --> 00:31:47,000
Let's get to it.
Hey, everybody.

571
00:31:47,000 --> 00:31:49,500
If you've been listening to the
podcast for any length of time

572
00:31:49,500 --> 00:31:53,100
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573
00:31:53,200 --> 00:31:55,600
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you nerdy about?

574
00:31:55,600 --> 00:31:58,200
What is the thing that makes you
nerd out more than anything?

575
00:31:58,200 --> 00:32:02,200
Is it video games is it D and D
like Brad we know you have

576
00:32:02,200 --> 00:32:04,800
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like to be nerdy about and for

577
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Alright, so today we are

600
00:33:09,200 --> 00:33:13,400
checking out old, Granddad 114.
Now if you've been following our

601
00:33:13,400 --> 00:33:15,500
podcast for any length of time,
you've probably guessed that.

602
00:33:15,500 --> 00:33:19,900
The 114 means that it is 114
proof, and you would be correct,

603
00:33:19,900 --> 00:33:23,300
why?
I know this comes from the Jim

604
00:33:23,300 --> 00:33:26,300
Beam corporation.
Last week, we tried the old

605
00:33:26,300 --> 00:33:28,700
Granddad bottled and bond back
in season one.

606
00:33:28,700 --> 00:33:30,900
We tried old Granddad, 80,
proof.

607
00:33:31,200 --> 00:33:33,900
We were not fans of either of
them, but we keep getting

608
00:33:33,900 --> 00:33:35,400
people.
Telling us, you know, when we

609
00:33:35,400 --> 00:33:38,300
tried the 80-proof people were
like you got to try the hundred

610
00:33:38,300 --> 00:33:40,000
proof.
It's so much better now.

611
00:33:40,000 --> 00:33:42,000
We've tried the 100 proof and
everyone's like well wait till

612
00:33:42,000 --> 00:33:44,900
you try 114.
So we said listen, I don't think

613
00:33:44,900 --> 00:33:47,600
we're going to like this but
we're going to do the 114 so

614
00:33:47,600 --> 00:33:50,500
that we stop having people tell
us that we're drinking the wrong

615
00:33:50,500 --> 00:33:54,000
whiskey somehow.
If we like give this a bad score

616
00:33:54,700 --> 00:33:57,100
their old granddad's going to
suddenly come out with like but

617
00:33:57,100 --> 00:34:01,300
wait, wait wait there's this 137
cast with that.

618
00:34:01,300 --> 00:34:05,500
We really think would be good.
It's really The top, it puts the

619
00:34:05,500 --> 00:34:08,500
114 to shame.
This whiskey is pretty Limited

620
00:34:08,500 --> 00:34:10,500
in its distribution.
You can't find it in Ohio.

621
00:34:10,500 --> 00:34:12,800
You really have to go to
Kentucky, to get it anywhere

622
00:34:12,800 --> 00:34:15,000
around, where we live, Brad,
honestly.

623
00:34:15,000 --> 00:34:18,500
After the first two expressions
of old Granddad, I'm a little

624
00:34:18,500 --> 00:34:20,800
bit leery, but I'm kind of
excited.

625
00:34:20,900 --> 00:34:25,000
It'll be fun to get into it now.
Old Granddad is a high rhyme Ash

626
00:34:25,000 --> 00:34:29,100
Bill meaning that we know
bourbon has to be 51% corn to be

627
00:34:29,100 --> 00:34:32,100
called bourbon.
But after corn, the next highest

628
00:34:32,100 --> 00:34:34,199
used grain in the mash bill is
right.

629
00:34:34,300 --> 00:34:36,300
Bye.
And so Brad, I expect us to have

630
00:34:36,300 --> 00:34:37,900
quite a bit of that Rice.
Pais.

631
00:34:37,900 --> 00:34:41,400
It's actually 27% Rai but let's
get into nosing it.

632
00:34:41,400 --> 00:34:45,100
What are you picking up on the
nose of this old Granddad 114?

633
00:34:45,100 --> 00:34:48,199
Honestly, it-it's very alcohol
forward.

634
00:34:48,300 --> 00:34:50,400
Yep.
But once you kind of push past

635
00:34:50,400 --> 00:34:55,500
that a little bit, it has man,
it has a little bit of vanilla,

636
00:34:55,500 --> 00:35:01,300
it has some of that rye kind of
spiciness, but there's also I

637
00:35:01,700 --> 00:35:06,400
might sound weird but it almost
smells kind of like A hmm, that

638
00:35:06,400 --> 00:35:10,000
that musty kind of old feel to
it?

639
00:35:10,000 --> 00:35:14,600
Yeah, that I haven't noticed on
other versions of old Granddad.

640
00:35:14,700 --> 00:35:18,800
Yeah, it definitely has almost
like a raw grain smell to it.

641
00:35:19,300 --> 00:35:22,400
That's pretty prominent.
I actually didn't think this had

642
00:35:22,400 --> 00:35:24,700
much of a nose to it.
And I'm kind of surprised

643
00:35:24,700 --> 00:35:27,800
because, you know, typically as
we increase in proof, we're

644
00:35:27,800 --> 00:35:29,700
usually increasing in age a
little bit too.

645
00:35:29,700 --> 00:35:31,000
I don't know if that's the case
here.

646
00:35:31,500 --> 00:35:34,500
But I was expecting something a
little bit more complex and All

647
00:35:34,500 --> 00:35:38,400
I really got was a huge blast of
ethanol on the nose, a little

648
00:35:38,400 --> 00:35:42,200
bit of spice and it's kind of
like your typical bourbon e or

649
00:35:42,200 --> 00:35:46,400
rice spices, but it also smells
you get that that rye comes

650
00:35:46,400 --> 00:35:48,900
forward in an almost sour type
way.

651
00:35:49,200 --> 00:35:50,900
Like it's a it's like a rye
bread.

652
00:35:50,900 --> 00:35:55,300
There's like a yeast Enos to it
and it smells like like just

653
00:35:55,300 --> 00:35:58,100
milled grain.
It's very I don't know what the

654
00:35:58,100 --> 00:36:00,500
word I would use to describe
this is but it's almost like

655
00:36:00,900 --> 00:36:02,900
rustic smelling.
You know what I mean?

656
00:36:02,900 --> 00:36:05,000
Like it smells like, yeah.
Smells like yeast.

657
00:36:05,000 --> 00:36:08,200
It smells like grain and then
it's just like, here's a bunch

658
00:36:08,200 --> 00:36:11,300
of ethanol to go with it.
I don't find this to be a really

659
00:36:11,300 --> 00:36:14,000
satisfying knows, I don't know.
Are you enjoying the nose Brad?

660
00:36:14,500 --> 00:36:20,300
No, I mean I will say there's
not a lot of richness or depth

661
00:36:20,300 --> 00:36:24,700
to this 114 proof that you would
like you said, Bob, when you get

662
00:36:24,700 --> 00:36:30,100
up above 110, 115 proof, you
start to expect a depth and a

663
00:36:30,100 --> 00:36:32,500
richness to it that I'm not
getting here.

664
00:36:32,500 --> 00:36:34,800
Even even as I looked Look at
this.

665
00:36:34,800 --> 00:36:38,700
The color doesn't even look that
deep know compared to other

666
00:36:38,700 --> 00:36:40,600
things that you get at this
proof.

667
00:36:40,600 --> 00:36:42,800
Yeah, totally agree.
I'm going to give this a 4 on

668
00:36:42,800 --> 00:36:45,100
the nose.
Um, I'm gonna give it a five.

669
00:36:45,800 --> 00:36:48,000
It's right down the middle
average for me.

670
00:36:48,300 --> 00:36:50,500
All right, well, that takes us
to The Taste so hopefully this

671
00:36:50,500 --> 00:36:52,500
improves from here.
Let's give it a sip.

672
00:36:57,700 --> 00:37:03,300
Wow.
Bob I'm yeah, that's, that's a

673
00:37:03,308 --> 00:37:06,800
whiskey.
Yep, it has alcohol in it, so it

674
00:37:06,800 --> 00:37:08,100
sure it.
Sure has alcohol.

675
00:37:09,100 --> 00:37:11,900
And then on top of the alcohol
is some more alcohol.

676
00:37:13,400 --> 00:37:18,100
Honestly, the more I taste
bourbon, the more you do get to

677
00:37:18,400 --> 00:37:22,300
recognize like a front of the
tip Taste of middle of the

678
00:37:22,300 --> 00:37:26,200
tongue taste of Finnish taste
and like a good whiskey can

679
00:37:26,200 --> 00:37:31,000
balance and yet Change in all
those areas this whiskey.

680
00:37:31,800 --> 00:37:34,500
It tastes like ethanol on the
tip of my tongue.

681
00:37:35,200 --> 00:37:41,100
On the middle of my tongue, it
has a corn sweetness to it and

682
00:37:41,100 --> 00:37:44,900
then it goes down my throat and
it tastes like ethanol.

683
00:37:45,000 --> 00:37:47,100
Yeah.
Is that about the experience?

684
00:37:47,100 --> 00:37:48,300
You had bottle.
Absolutely.

685
00:37:48,300 --> 00:37:51,000
And I think you're totally right
Brad, As We Sip some of these

686
00:37:51,000 --> 00:37:52,800
whiskeys.
I've started to realize that

687
00:37:52,800 --> 00:37:56,900
there's kind of like two or
three basic Umbrellas of

688
00:37:56,900 --> 00:37:58,800
bourbon.
It's and one of them is this

689
00:37:58,800 --> 00:38:04,600
sort of like high-rise?
I unsweet harsh grainy Mash Bill

690
00:38:05,000 --> 00:38:07,400
and you get it in these old.
Granddad's you get it a lot in

691
00:38:07,400 --> 00:38:11,200
for roses and I've just found
that I don't care for Whiskey's

692
00:38:11,200 --> 00:38:13,900
that tastes like this and this
is no exception to that Brad.

693
00:38:13,900 --> 00:38:16,000
I don't know if you would
compare this to a Four Roses but

694
00:38:16,000 --> 00:38:19,800
that's kind of the same thing.
I get it's it's really thin for

695
00:38:19,800 --> 00:38:23,100
a 114.
There's a little bit of spice

696
00:38:23,200 --> 00:38:26,900
and there's that alcohol tingle
throughout it's just alcohol all

697
00:38:26,900 --> 00:38:29,700
the way.
And I found that that sour note

698
00:38:29,700 --> 00:38:32,500
from the Rye on the nose carried
through as well.

699
00:38:32,500 --> 00:38:37,700
It's not a pleasant ride flavor.
It's just this really sort of

700
00:38:37,700 --> 00:38:43,200
sourdough almost yeasty bread.
It doesn't have much flavor to

701
00:38:43,200 --> 00:38:45,100
it.
I let it sit for about five

702
00:38:45,100 --> 00:38:47,000
minutes.
I've taken two sips of this now,

703
00:38:47,200 --> 00:38:50,200
and it has a little bit more
character after about 5 minutes

704
00:38:50,200 --> 00:38:52,500
that it really kind of develops,
some more sugar.

705
00:38:52,900 --> 00:38:56,900
But again, it took five solid
minutes to just like calm down

706
00:38:56,900 --> 00:38:59,400
in my Glass enough to be
palatable.

707
00:38:59,600 --> 00:39:02,200
I do not like this.
I'm going to give it a 4 again

708
00:39:02,200 --> 00:39:04,700
on the taste man.
Bob I'm trying to come up with

709
00:39:04,700 --> 00:39:07,600
something for this and I just
can't it's a three on the taste

710
00:39:07,600 --> 00:39:12,900
for me that there's not much
going on here you know I've read

711
00:39:12,900 --> 00:39:17,100
a few different reviews of this
and it seems like it's pretty

712
00:39:17,100 --> 00:39:20,800
universally praised that there's
a lot going on and I don't know

713
00:39:20,800 --> 00:39:24,900
if I'm just doing something
wrong but I feel like I've drank

714
00:39:24,900 --> 00:39:27,300
enough Barrel proof whiskey at
this point.

715
00:39:27,500 --> 00:39:29,900
To know what I'm doing when it
comes to high proof whiskey.

716
00:39:30,400 --> 00:39:32,600
This one doesn't have a lot of
flavor, you know.

717
00:39:32,600 --> 00:39:35,400
I swish it around on the front
of the tongue a little bit, but

718
00:39:35,400 --> 00:39:38,900
even as I finish and I tried to
look for notes, I try to find

719
00:39:38,900 --> 00:39:42,300
anything on there.
Even just something, you know,

720
00:39:42,300 --> 00:39:44,500
some sort of spice or some sort
of anything.

721
00:39:44,800 --> 00:39:49,000
It's just so overwhelmed by the
ethanol that any flavor I find

722
00:39:49,000 --> 00:39:52,100
isn't really worth finding.
Yeah, Brad, I totally agree.

723
00:39:52,100 --> 00:39:54,900
I actually found myself about
halfway through scoring this

724
00:39:54,900 --> 00:39:57,300
saying like why am I trying so
hard?

725
00:39:57,400 --> 00:39:59,200
To find good things to say about
this.

726
00:39:59,400 --> 00:40:00,500
Yes, it gets.
Yeah, yeah.

727
00:40:00,500 --> 00:40:03,500
I think it's because I've read
and seen so many people who love

728
00:40:03,500 --> 00:40:06,700
it and at a certain point I had
to say like, no, I'm not going

729
00:40:06,700 --> 00:40:09,300
to just like grade this on a
curve anymore.

730
00:40:09,500 --> 00:40:11,800
And I have to be honest about
the fact that I do not think

731
00:40:11,800 --> 00:40:15,000
this is good and that that takes
me to the Finish as well.

732
00:40:15,300 --> 00:40:17,600
And literally, the only note
that I took down for finished

733
00:40:17,600 --> 00:40:21,600
was ethanol.
Just ethanol like there really

734
00:40:21,600 --> 00:40:24,200
is no lingering flavor that
lasts on this.

735
00:40:24,200 --> 00:40:29,600
It is a hugely alcohol, forward.
Ski the burn going down is

736
00:40:29,600 --> 00:40:32,800
prominent and it.
Honestly, last week we said that

737
00:40:32,800 --> 00:40:35,000
it seems like to get to 100
Proof.

738
00:40:35,000 --> 00:40:39,100
They just added a bunch more
grain alcohol to get to go from

739
00:40:39,100 --> 00:40:41,000
80 to 100.
And this time it seems like the

740
00:40:41,000 --> 00:40:43,400
same thing as we've gone up in
proof.

741
00:40:43,500 --> 00:40:46,500
I do not notice a lot more
flavor a lot more depth or

742
00:40:46,500 --> 00:40:50,000
complexity in these whiskies.
And at this point I think it's

743
00:40:50,000 --> 00:40:51,800
just getting harsh.
Yeah.

744
00:40:51,800 --> 00:40:57,200
Bob it's I am not understanding
the obsession with this whiskey.

745
00:40:57,400 --> 00:41:00,000
I honestly kind of feels like
when we reviewed mellow corn.

746
00:41:00,300 --> 00:41:03,800
Now granted milk horns in a very
different category as far as you

747
00:41:03,800 --> 00:41:07,000
know, that everybody would
recognize that's a low-end cheap

748
00:41:07,000 --> 00:41:08,900
whiskey but a lot of people
really like it.

749
00:41:09,400 --> 00:41:13,000
This one I don't know what the
price is but I can't imagine

750
00:41:13,000 --> 00:41:16,500
it's a Super Cheap whiskey and
so I'm just going to sit here

751
00:41:16,500 --> 00:41:20,300
and go man, like for the Finish,
it's going to be a three for me

752
00:41:20,700 --> 00:41:25,100
balance, I guess it's well
balanced it smells like ethanol

753
00:41:25,100 --> 00:41:28,700
and corn and a little bit of
spice and It tastes like that.

754
00:41:28,700 --> 00:41:33,400
So I guess I'll give it a 5 on
balance, but I'm really curious

755
00:41:33,400 --> 00:41:36,400
to get to this value score
because I'm, I want to know how

756
00:41:36,400 --> 00:41:39,000
much it cost.
Yeah, so just for me, I gave it

757
00:41:39,000 --> 00:41:41,300
a 4 on finish.
I gave it a 4 on balance.

758
00:41:41,300 --> 00:41:43,900
I went for is across the board
until I got to value.

759
00:41:44,300 --> 00:41:46,900
Now the value on this is going
to be kind of interesting to

760
00:41:46,908 --> 00:41:50,600
gauge because Again Brad it
seems like the some people's

761
00:41:50,600 --> 00:41:54,700
palates just really appreciate
Whiskey's like this and I know I

762
00:41:54,700 --> 00:41:56,600
don't.
So I'm going to grade it based

763
00:41:56,600 --> 00:41:58,500
on that.
And if you're a big fan of old

764
00:41:58,500 --> 00:42:01,400
Granddad of of Four Roses, I
think this this would be right

765
00:42:01,400 --> 00:42:03,400
up your alley.
This bottle of whiskey will cost

766
00:42:03,400 --> 00:42:07,300
you about $30 so it's not an
exorbitant amount of money.

767
00:42:07,900 --> 00:42:10,100
And it is kind of like, you
know, if you're going to

768
00:42:10,100 --> 00:42:12,200
Kentucky, it's not distributed
by you.

769
00:42:12,200 --> 00:42:13,900
You pick up a bottle, it's a
good story.

770
00:42:13,900 --> 00:42:15,600
It's actually a really beautiful
bottle.

771
00:42:15,600 --> 00:42:19,000
One of my favorite bottles in
the whole of the bourbon world,

772
00:42:19,700 --> 00:42:23,600
but Brad, I would never pay $30
for this, and I could list a,

773
00:42:23,600 --> 00:42:26,700
you know, just a plethora of
Whiskey's that I would

774
00:42:26,700 --> 00:42:30,300
recommend. $30 before this, I
mean, you know, in the state of

775
00:42:30,300 --> 00:42:32,700
Ohio, like you can get well or
Special Reserve for cheaper than

776
00:42:32,700 --> 00:42:34,500
this, you can get all his Elijah
Craig.

777
00:42:34,500 --> 00:42:38,000
You could do a Knob Creek, like,
even in the Jim Beam line there

778
00:42:38,000 --> 00:42:40,000
are things that I would
recommend over this.

779
00:42:40,100 --> 00:42:42,300
I'm going to give this a 3 on
value.

780
00:42:42,500 --> 00:42:44,900
I'm right there with you Bob.
I think that there's so many

781
00:42:44,900 --> 00:42:49,300
Whiskey's you can get for even
$20 that are better than this.

782
00:42:49,600 --> 00:42:51,500
They're in our Springtime of
swill.

783
00:42:51,500 --> 00:42:54,100
We probably had a few whiskies
that I would prefer over this.

784
00:42:54,500 --> 00:42:56,300
So yeah, I'm going to give it a
3 as well.

785
00:42:56,300 --> 00:42:59,600
I think there's Thing going on
here and people seem to like it.

786
00:42:59,600 --> 00:43:03,400
But I'm gonna have to pass on
this and not recommend it.

787
00:43:03,400 --> 00:43:06,000
I don't recommend as well.
That means that both of us come

788
00:43:06,000 --> 00:43:11,400
out to a 19 out of 50 on this.
So well below average, I have a

789
00:43:11,400 --> 00:43:13,900
feeling that some people are
going to write us Brad or maybe

790
00:43:13,900 --> 00:43:16,300
call in and tell us that they
think differently about this.

791
00:43:16,700 --> 00:43:20,100
And I would love to hear if, if
you like this whiskey, I want a

792
00:43:20,100 --> 00:43:22,800
description.
Not just that we're wrong and

793
00:43:22,800 --> 00:43:26,400
you liked it, but what is it
about it that appeals to you?

794
00:43:26,400 --> 00:43:31,100
Because for us, it The crosses
as sour as harsh as too much of

795
00:43:31,100 --> 00:43:33,700
an alcohol burn.
Do you agree with that

796
00:43:33,700 --> 00:43:36,200
assessment or are we completely
missing something in this

797
00:43:36,200 --> 00:43:39,000
whiskey.
So please if you disagree with

798
00:43:39,000 --> 00:43:41,500
us, call in right in and let us
know what it is.

799
00:43:41,500 --> 00:43:44,700
That you think is good about old
Granddad 114.

800
00:43:44,900 --> 00:43:49,000
Yeah, Bob this might be our Back
to the Future take of the in the

801
00:43:49,000 --> 00:43:53,900
whiskey world.
But regardless of that I think

802
00:43:53,900 --> 00:43:58,900
I'm about ready to move past not
just old Undead 114, but any

803
00:43:58,900 --> 00:44:03,400
version of Old Granddad, I would
much rather talk about the 1944.

804
00:44:03,400 --> 00:44:06,300
Classic double indemnity.
Well, Brad, let's get back into

805
00:44:06,300 --> 00:44:50,600
it.
Alright, so that was old

806
00:44:50,600 --> 00:44:54,000
Granddad. 114 a whiskey that.
Neither of us recommends, a

807
00:44:54,008 --> 00:44:56,500
neither of us enjoyed.
Let's get back into talking

808
00:44:56,500 --> 00:44:59,500
about this movie that both of
us, enjoy and that I will be

809
00:44:59,500 --> 00:45:03,300
much happier to talk about Brad
before we left for the break.

810
00:45:03,300 --> 00:45:05,500
I said that we were going to get
into talking about Billy Wilder

811
00:45:05,500 --> 00:45:08,500
as a director.
And I think that Billy Wilder is

812
00:45:08,500 --> 00:45:11,800
a really underrated director
because he also wrote all, you

813
00:45:11,800 --> 00:45:16,300
know, all or most of the movies
that he made I think people give

814
00:45:16,300 --> 00:45:19,900
him a lot of credit for being a
great screenwriter but Kind of

815
00:45:19,900 --> 00:45:22,300
infer that like he was using
that as a crutch with his

816
00:45:22,300 --> 00:45:24,400
Direction.
And I don't think you can make

817
00:45:24,400 --> 00:45:27,400
that argument here.
I think this is Wilder, at his

818
00:45:27,400 --> 00:45:30,300
most kind of hitchcockian like
this.

819
00:45:30,300 --> 00:45:33,500
This movie reminds me so much of
a Hitchcock movie, obviously,

820
00:45:33,500 --> 00:45:37,800
very different tonally, but the
two major themes in this movie

821
00:45:37,800 --> 00:45:40,900
are, like, sex and suspense.
And that's a Hitchcock movie,

822
00:45:41,200 --> 00:45:43,300
you know what I mean?
Like, Everything About You movie

823
00:45:43,300 --> 00:45:47,000
is either about the tension of,
are they going to get caught or

824
00:45:47,000 --> 00:45:49,200
it's about the tension of?
Are they going to have?

825
00:45:49,300 --> 00:45:53,000
X, that is the definition of a
Hitchcock type movie.

826
00:45:53,000 --> 00:45:56,600
And I think that Billy Wilder
really leans into those kind of

827
00:45:56,600 --> 00:46:00,000
directorial, tricks, obviously,
we talked about the sexual

828
00:46:00,000 --> 00:46:03,000
tension in the first couple
scenes with the leads, but I

829
00:46:03,008 --> 00:46:06,000
think it's also really
hitchcockian in the way that you

830
00:46:06,000 --> 00:46:09,700
as the viewer are watching this
crime play out, you're watching

831
00:46:09,700 --> 00:46:13,500
these two horrible people
planning to commit murder and

832
00:46:13,500 --> 00:46:16,100
then when it comes time to
actually do it, you're surprised

833
00:46:16,100 --> 00:46:18,800
to find out that you're like on
their side like your kind of

834
00:46:19,300 --> 00:46:22,500
Only hoping they get away with
it when they lay his body on the

835
00:46:22,508 --> 00:46:25,300
tracks and run back to the car
to get away and the car won't

836
00:46:25,300 --> 00:46:28,200
start.
It's so suspenseful and you

837
00:46:28,200 --> 00:46:30,800
don't want to admit it but it's
suspenseful because you're

838
00:46:30,800 --> 00:46:33,000
hoping that they don't get
caught.

839
00:46:33,000 --> 00:46:36,400
And and like that is the
definition of a Hitchcock type

840
00:46:36,400 --> 00:46:40,000
suspense thriller in Vertigo
when Jimmy Stewart finds the

841
00:46:40,000 --> 00:46:43,400
letter and he's realizing
everything that happened.

842
00:46:43,700 --> 00:46:47,800
Like I feel like you have a
moment like that and this movie

843
00:46:47,800 --> 00:46:53,000
when f is Everything that really
is happening here and he finally

844
00:46:53,000 --> 00:46:55,400
figures out.
Oh, this is what's actually

845
00:46:55,400 --> 00:46:58,300
going on.
And so, yeah, I think Hitchcock

846
00:46:58,300 --> 00:47:03,000
is a perfect perfect look like
for you know, what is happening

847
00:47:03,000 --> 00:47:06,700
in this Billy Wilder film.
But like you said, I think that

848
00:47:06,900 --> 00:47:13,100
Hitchcock has a weirdness about
him that Billy Wilder doesn't

849
00:47:13,100 --> 00:47:15,600
have.
And so with wilder, you get the

850
00:47:15,600 --> 00:47:20,100
snarky comments, the double
entendres you Get those moments

851
00:47:20,100 --> 00:47:24,600
of lightness and of laughter
that I think allow you as, you

852
00:47:24,600 --> 00:47:29,100
know, just as an average
moviegoer to engage with the

853
00:47:29,100 --> 00:47:33,000
film on a deeper level, because
it doesn't feel so.

854
00:47:33,000 --> 00:47:36,700
So, foreign to real life.
Does that make sense?

855
00:47:37,000 --> 00:47:38,900
Yeah, I think it does.
And I think that that's what

856
00:47:38,900 --> 00:47:42,200
really makes Billy Wilder, a
great candidate for directing, a

857
00:47:42,200 --> 00:47:44,800
film Noir.
Now, this is a term that we've

858
00:47:44,800 --> 00:47:46,200
used.
Like, I don't know, probably 20

859
00:47:46,200 --> 00:47:49,700
times already on this episode
Brad, but film Noir is Really

860
00:47:49,700 --> 00:47:53,000
hard to Define.
It's not really a genre, it's

861
00:47:53,000 --> 00:47:56,900
more about the style and yet,
any movie, that, that gets

862
00:47:56,900 --> 00:48:00,700
designated or gets called a film
Noir, you do see like certain

863
00:48:00,700 --> 00:48:03,400
elements, creep back up again,
and again.

864
00:48:03,800 --> 00:48:06,100
So, the term film Noir.
It actually, it comes from the

865
00:48:06,100 --> 00:48:08,500
French for black film or dark
film.

866
00:48:08,800 --> 00:48:11,200
They're usually characterized by
the fact that they have these

867
00:48:11,200 --> 00:48:14,600
really harsh lighting patterns
that, you know, when you're

868
00:48:14,600 --> 00:48:16,700
lighting a scene, you've got,
like, a couple main lights in

869
00:48:16,707 --> 00:48:18,600
the one is called the key light,
that's where most of the light

870
00:48:18,600 --> 00:48:20,100
comes from.
Um, and let's say that you're

871
00:48:20,100 --> 00:48:21,600
shining a light on somebody's
face.

872
00:48:21,600 --> 00:48:24,000
The key light is going to create
a whole bunch of shadow on the

873
00:48:24,008 --> 00:48:26,700
other side of the person's face.
The usually, what they would do

874
00:48:26,700 --> 00:48:29,100
is they would put a second light
called, a fill light, to kind of

875
00:48:29,100 --> 00:48:31,300
balance that out.
Well, in film Noir, they're all

876
00:48:31,300 --> 00:48:33,500
about the Shadows.
They're all about the contrast.

877
00:48:33,500 --> 00:48:35,700
So like they're not going to put
a fill light in the scene.

878
00:48:35,900 --> 00:48:39,200
And so you get these incredible
like Silhouettes, you get the

879
00:48:39,600 --> 00:48:42,100
light pouring in through the
Venetian blinds.

880
00:48:42,100 --> 00:48:46,800
That really create these kind of
expressionistic visuals in a

881
00:48:46,800 --> 00:48:49,900
movie and then you also have
that they To have the same

882
00:48:49,900 --> 00:48:52,200
themes.
There's always like a cynical

883
00:48:52,200 --> 00:48:54,700
world view, there's usually a
femme fatale, they're usually

884
00:48:54,700 --> 00:48:57,800
about murder.
Sex is always kind of bubbling

885
00:48:57,800 --> 00:49:00,300
underneath the surface, creating
all the tension.

886
00:49:00,300 --> 00:49:02,700
I think this is a perfect
example of that.

887
00:49:02,700 --> 00:49:05,400
Because when you think about
film Noir, it is about as

888
00:49:05,400 --> 00:49:11,100
stylized of a movie genre as you
can get and yet somehow Billy

889
00:49:11,100 --> 00:49:14,400
Wilder doesn't make it seem like
this weird foreign world that

890
00:49:14,400 --> 00:49:16,600
we're in happening.
Like it all seems realistic

891
00:49:16,600 --> 00:49:19,200
because of the touches that he
brings to it.

892
00:49:19,200 --> 00:49:21,100
It.
Yeah, I mean even when you just

893
00:49:21,100 --> 00:49:25,000
look at you know the the
insurance office that Neff and

894
00:49:25,000 --> 00:49:30,200
keys working, it just feels like
a normal everyday workplace and

895
00:49:30,200 --> 00:49:33,800
I think other film Noir you get
these privatized that are you

896
00:49:33,800 --> 00:49:37,000
know they're in an office by
themselves and their pondering

897
00:49:37,000 --> 00:49:39,100
the meaning of life.
And they're you know they're

898
00:49:39,100 --> 00:49:43,300
there it's like this gritty dark
and it's just unrelatable.

899
00:49:43,300 --> 00:49:45,800
It doesn't feel like real life,
whereas in this film, you know,

900
00:49:45,800 --> 00:49:48,900
they just have normal office
jobs and keys is done, really

901
00:49:48,900 --> 00:49:49,600
well.
Himself.

902
00:49:49,600 --> 00:49:53,200
So he has an office by by
himself and Neff is done pretty

903
00:49:53,200 --> 00:49:55,200
good for himself and he shares
an office.

904
00:49:55,200 --> 00:49:57,900
He's not on the general floor
with all the other salesmen.

905
00:49:58,300 --> 00:50:02,800
So like their gets, there's this
sense of normalcy about his life

906
00:50:03,500 --> 00:50:08,800
that makes the vortex that is
Phyllis dietrichson so much more

907
00:50:08,800 --> 00:50:11,800
enticing for him.
You know, it's because he leads

908
00:50:11,800 --> 00:50:14,300
this normal life that he's like,
man.

909
00:50:14,300 --> 00:50:17,400
I have this opportunity to sleep
with an or with a married woman

910
00:50:17,700 --> 00:50:19,000
and it's a chance to kind of
spice.

911
00:50:19,200 --> 00:50:22,800
These things up and, and it's
just so believable.

912
00:50:23,300 --> 00:50:25,700
And I think that that
believability that he's able to

913
00:50:25,700 --> 00:50:31,000
craft even within such like a
highly stylized visual World, it

914
00:50:31,000 --> 00:50:35,300
really helps the movie out and I
think Billy Wilder even realized

915
00:50:35,300 --> 00:50:38,400
this because they filmed a
different ending for the movie,

916
00:50:38,700 --> 00:50:41,300
you know, as I was watching this
movie, I was like, I don't

917
00:50:41,300 --> 00:50:43,700
understand why this movies
ending in the way that it does.

918
00:50:43,700 --> 00:50:46,000
And I don't know if you really
had this problem Brad, but like,

919
00:50:46,100 --> 00:50:49,500
you know, Walter Neff finds out
that Phyllis has been seeing Sky

920
00:50:49,500 --> 00:50:52,700
Nino, zachetti hurt, her
stepdaughters boyfriend, and you

921
00:50:52,700 --> 00:50:56,300
get the idea that like, oh, he's
going to pin it on them, but

922
00:50:56,300 --> 00:50:59,400
then he makes this really huge
jump to like, well, no, I have

923
00:50:59,400 --> 00:51:02,500
to actually kill her and I'm
going to pin It On zachetti by

924
00:51:02,500 --> 00:51:05,500
calling the cops afterwards.
And I'm like, why do you have to

925
00:51:05,500 --> 00:51:07,000
kill her?
Why are you going back into her

926
00:51:07,000 --> 00:51:08,400
house?
What happens if you accidentally

927
00:51:08,400 --> 00:51:11,200
leave some kind of evidence?
They're like why are you doing

928
00:51:11,200 --> 00:51:13,000
this?
And then I found out afterwards

929
00:51:13,000 --> 00:51:16,800
that because of the sensors that
were in place at the time you

930
00:51:16,800 --> 00:51:20,300
actually had to have both of
those at Agonist shoot each

931
00:51:20,300 --> 00:51:22,700
other in a way that could
potentially be fatal.

932
00:51:23,100 --> 00:51:27,000
The Hays code had a really
strong belief that people who

933
00:51:27,000 --> 00:51:29,200
did things like what they did
criminals.

934
00:51:29,300 --> 00:51:32,400
You know, they had to pay and
people who are adulterers had to

935
00:51:32,400 --> 00:51:35,000
pay.
So it makes sense that you see

936
00:51:35,000 --> 00:51:38,900
Phyllis get killed by Walter and
Walter get killed by Phyllis.

937
00:51:38,900 --> 00:51:42,500
You know, if he does end up
dying but the the movie actually

938
00:51:42,500 --> 00:51:46,200
went further than that in the
original draft of the screenplay

939
00:51:46,200 --> 00:51:48,400
and they actually filmed the
ending and tested it out for

940
00:51:48,400 --> 00:51:51,300
audiences.
Walter survives and actually

941
00:51:51,300 --> 00:51:54,000
goes to prison and gets executed
at the end of the movie.

942
00:51:54,000 --> 00:51:57,100
And the last scene of the movie,
is him going into the gas

943
00:51:57,100 --> 00:51:59,800
chamber and you can actually
still find like production

944
00:51:59,800 --> 00:52:03,000
stills from this seen online,
Edward G Robinson.

945
00:52:03,000 --> 00:52:06,400
Goes to the gas chamber and
watches from outside as Walter

946
00:52:06,400 --> 00:52:11,400
dies, which is like a, a
horribly Bleak ending to this

947
00:52:11,400 --> 00:52:15,000
movie.
But Billy Wilder tested it out,

948
00:52:15,000 --> 00:52:16,700
the audience didn't seem to mind
the ending.

949
00:52:16,700 --> 00:52:19,300
But he actually said, you know
what, I don't think we Need

950
00:52:19,308 --> 00:52:20,800
this.
Even though they spent a whole

951
00:52:20,800 --> 00:52:24,400
bunch of money to craft this
scene, he's like, you know, the

952
00:52:24,400 --> 00:52:27,500
heart of the movie is this
relationship between Walter and

953
00:52:27,500 --> 00:52:30,800
keys and that last scene that we
get where we kind of understand

954
00:52:30,800 --> 00:52:32,000
what's going to happen to
Walter.

955
00:52:32,000 --> 00:52:34,300
Anyway, that's really the ending
of the movie.

956
00:52:34,308 --> 00:52:37,000
Why don't we just end it there.
And I thought that's probably

957
00:52:37,000 --> 00:52:40,400
the best directorial decision
that he made in the whole movie

958
00:52:40,400 --> 00:52:43,600
because that ending, we really
would have been completely

959
00:52:43,600 --> 00:52:46,300
unnecessary.
And, and where they choose to

960
00:52:46,300 --> 00:52:49,200
end, it is kind of like the
emotional climax.

961
00:52:49,300 --> 00:52:51,700
Of the movie and I think it
works beautifully.

962
00:52:51,800 --> 00:52:53,600
Yeah.
And, and Bob, that, that kind of

963
00:52:53,600 --> 00:52:57,100
brings me to a place where I'm
ready to give my final score

964
00:52:57,100 --> 00:53:00,500
because this, this movie is so,
so good.

965
00:53:00,500 --> 00:53:03,900
That, you know, there's a few
issues here there that I

966
00:53:03,900 --> 00:53:05,900
wouldn't call this a perfect
movie.

967
00:53:06,700 --> 00:53:09,800
But for me, it's easily a nine
and a half out of ten.

968
00:53:09,800 --> 00:53:12,500
I could watch this movie over
and over again.

969
00:53:12,900 --> 00:53:16,100
And honestly, I'm excited to
show to a few friends, who, you

970
00:53:16,100 --> 00:53:19,500
know, probably haven't seen it
with how old it is, because This

971
00:53:19,500 --> 00:53:23,700
is just put plainly, it's a
fantastic movie and I really

972
00:53:23,700 --> 00:53:27,100
think anybody who enjoys movies
should watch this film.

973
00:53:27,300 --> 00:53:28,700
You know, I think I'm right
there with you.

974
00:53:28,900 --> 00:53:31,600
This has always been one of my
favorite classic films to watch

975
00:53:31,800 --> 00:53:34,800
and I don't know if it's just
because of like what's going on

976
00:53:34,800 --> 00:53:36,900
in the world?
The last few weeks and seeing

977
00:53:36,900 --> 00:53:40,000
like the dark side of human
personalities.

978
00:53:40,000 --> 00:53:44,900
But something about housel easy
and dark and unredeemable these

979
00:53:44,900 --> 00:53:48,300
characters were really affected
me this time and I couldn't

980
00:53:48,300 --> 00:53:51,800
quite lean into Thing at a 10
but I think it's absolutely a

981
00:53:51,800 --> 00:53:54,300
nine and a half.
It's a phenomenal movie.

982
00:53:54,300 --> 00:53:57,500
It's probably the best example
of a film Noir that's ever been

983
00:53:57,500 --> 00:54:00,500
put to film when the movie came
out, it actually was nominated

984
00:54:00,500 --> 00:54:04,200
for seven Academy Awards and it
didn't win any, and Billy Wilder

985
00:54:04,200 --> 00:54:07,400
got so mad because his Studio
basically, through the movie

986
00:54:07,400 --> 00:54:10,400
Under the bus, they promoted a
different movie instead.

987
00:54:10,400 --> 00:54:12,600
And both of these films were
nominated for best picture.

988
00:54:12,900 --> 00:54:16,300
And by the time Billy Wilder,
lost Best Director to the guy

989
00:54:16,300 --> 00:54:20,600
who who directed the other film.
He actually tripped him going up

990
00:54:20,600 --> 00:54:22,500
the aisle.
Billy Wilder was a super sore

991
00:54:22,500 --> 00:54:25,700
loser, but I think in the years
since this movie has come out,

992
00:54:25,700 --> 00:54:29,300
it's come to be seen as one of
the best films ever made.

993
00:54:29,300 --> 00:54:34,100
And I absolutely think that it
holds up 75 76 years after it

994
00:54:34,100 --> 00:54:36,200
came out.
The Bob do you want to know

995
00:54:36,200 --> 00:54:37,600
whose opinion?
I want to hear.

996
00:54:38,000 --> 00:54:40,100
Who's that bread?
Well that would be filming

997
00:54:40,100 --> 00:54:43,500
whiskey Nation, our loyal
listeners but if they wanted to

998
00:54:43,500 --> 00:54:45,700
let us know what they thought.
Bob where would they find us?

999
00:54:46,000 --> 00:54:48,700
Well, it's such a good question.
Brad, if you want to write in

1000
00:54:48,700 --> 00:54:51,700
call, Tell us what you think
about Double Indemnity.

1001
00:54:51,900 --> 00:54:55,000
You can find us on social media,
we're on Facebook, Twitter and

1002
00:54:55,000 --> 00:54:58,700
Instagram at film whiskey, or if
you want to give us a call, our

1003
00:54:58,700 --> 00:55:02,400
phone number is two one, six,
eight hundred 5923 once again.

1004
00:55:02,400 --> 00:55:07,700
That number is two one, six,
eight hundred 5923 or give us a

1005
00:55:07,707 --> 00:55:09,500
call on our anchor dot f m--
page.

1006
00:55:09,500 --> 00:55:11,800
You can record a voice mail
there and let us know what you

1007
00:55:11,800 --> 00:55:14,700
think about Double Indemnity
next week we will be back.

1008
00:55:14,800 --> 00:55:16,600
We're actually staying in
Classic Hollywood.

1009
00:55:16,600 --> 00:55:21,700
Brad will be back with a 1951.
Classic the African queen for

1010
00:55:21,700 --> 00:55:25,100
the film and whiskey podcast.
I'm Bob book, I'm Reggie will

1011
00:55:25,100 --> 00:55:25,900
see you next time.